Kannadasan – A Realized Master (Part 28)

 

Just months after the wedding, the old folks around the couple would embarrass them by asking, "Is there any special news?" Everyone understood the implication of that question. That was the old way. Nowadays, since both partners work and they even question the necessity of marriage itself, asking "When are you having a baby?" invites a sharp retort. Gen Z might fire back even more heatedly: "If I give birth, will *you* come to raise the child?" At the current pace—much like how children are herded into schools like broiler chickens—it seems we might soon see a scenario where, as Elon Musk suggests, couples simply provide DNA samples to a laboratory to mass-produce and raise human babies, just to ensure the survival of the human race. Anyway, one shouldn't ask a couple about such private matters at the wrong moment; after all, if you place cotton right next to fire, is it possible for it *not* to catch flame? 

As the 'Emperor of Romance' Kannadasan wrote "Oh lovely image, tell me: what happens when a kiss is planted?" (“Chithirame solladi, muthamitaal enndi?”) (Film: *Vennira Aadai*)—he asked. She replied, "I discovered a novel experience with him; thoughts arose that had never existed before—ah, my cheeks wounded by the touch of his golden hands!" (“Anubhavam Pudhumai, avanidam kanden”) (Film: *Kadhalikka Neramillai*). Then, echoing "Is this space enough? Can that pleasure be shared? It seems small, yet it is the perfect spot for two to unite" (“Podhumo indha idam?” (Film: *Naan*) ——he asked, "Shall I wear you like a flower? Shall I wrap you in a blanket? Shall I close my eyes to discover the true meaning of love?" And so, as the 'King of Poets' expressed in the song "Kalyana Aasai Vandha Kaaranathai Sollavaa?" (Film: *Engal Thanga Raja*): "Can the art of love be fully conveyed in words? One must experience it firsthand!", Nature unfailingly plays its part. 

Would the 'Emden' (master) of poets—who excelled at inhabiting a woman's body and capturing her delicate emotions—ever miss such an opportunity? Just as he often gave the 'green signal' (Film: Pachai Vilakku) to the surging tide of feminine passion in many songs, he does so here with flair (“Aval Mella Sirithaal ondru solla ninaithaal): 

"She smiled softly, wanting to say something—

That mischievous Kannan's Radha, oh Radha;

A thousand plays of lovers' games,

And the day passed in sheer delight!" 

Whether it is love, desire, or the bashfulness that accompanies them, the poet handles these themes with effortless ease—as easily as eating *halva*. In this song, he transforms the emotions of the woman who has captivated his heart into vivid physical gestures and visual imagery. For those who might say, "Sir, you’ve devoured most of the *halva* (the best parts) yourself," I suggest—since many public speakers have already highlighted how Kannadasan polished this song by drawing upon treasures of classical Tamil—that the audience watch and listen to these musical-poetic feasts on YouTube at their leisure, savoring and dissecting every single line with delight (“Oru pakkam paakuraa, oru kanna saikiraa”) (Film: *Maattukkaara Velan*): 

"She glances to the side! She tilts her eye!

Biting her lip, she smiles ever so softly!

With her toe, she traces a *kolam* pattern on the ground!

She rests her cheek against the barred window!

Closing her eyes repeatedly, she signals her feelings!" 

‘Drawing *kolams* with one's feet, rubbing one's cheek against a metal bar, and catching freshly milked milk touching hands gently’—these have long been the playful, flirtatious antics of Lord Krishna. Usually, it is the male who sings of such things. However, the heroine here speaks directly, granting explicit permission: "Enough of just looking; while you sing, let your hands engage in some playful mischief too" (“Innum paarthu kondirunthaal ennavathu?”) (Film: *Vallavan Oruvan*): 

"What will become of us if you just keep gazing?

Was I born a woman merely for this kind of look? Will you finally give me what I ask for today?

You must speak the words that lovers exchange at twilight,

And while speaking, let your hands engage in playful mischief;

The pleasure that flows from that is beyond measure!" 

As both of them yearn to love—intent on amassing and indulging in the pleasures of touch—would Nature simply stand by? It proceeds to stage its own spectacle. It seems that asking for "playful mischief with the hands" became a habit for the lyricist! In the song "Nerukku Ner Nindru Paarppathu Paarvai" (Film: *Ethirigal Jaakkiradhai*), he writes, "Place the garland upon me, and show me some playful mischief." When his wife asks, "What business does my strapping lad have when I call him?"—implying he has all the time for romance—he rushes over, declaring, "Once that other work is gone, I shall spend my time on *this* work!" After all, "For whom is the twilight enchantment there? For the two who are captivated right here" (“Angey maalai mayakam yaarukkaha?”) (Film: *Ooty Varai Uravu*). Besides, "If one waits for tomorrow, wouldn't a whole day go to waste?" Furthermore, "To ask is the sweetness of love; to grant when asked is the duty of love; pleasure is the right of both; and for youth, it is a source of pride, no matter who asks." 

Poet often suggests closing one's eyes when the playful dalliance of love begins! (It appears when someone underage are around at home we should close their eyes while reading this entire episode!) Yet, the lips cannot remain silent; I mean, they simply must sing—much like in the song "Sugam Thaana Sollu Kanne" (Film: *Manmadha Leelai*): 

"My heart has blossomed and yearns for motherhood;

My soul desires a child,

My body seeks boundless ecstasy,

And there is no barrier to our union.

 

The moment has arrived; destiny has found me,

Acting as a messenger and standing by my side,

Urging me to embrace you, my love;

There is no hindrance at this hour.

 

What is there to say?

It is our own bond that seeks this pleasure;

Why should there be any shyness?

Who is there around to watch us?" 

Furthermore, in a later song, the lyricist—who penned the lines "A song sung by the gentle breeze of youth" (“Ilamai enum poongaatru”)—concludes by singing, "A desire arises in a moment; sheer pleasure, nothing but pleasure in it," implying that this is ordained by fate (Film: *Pagalil Oru Iravu*): 

"Losing itself and falling upon the flower of youth,

The bee—blinded—focuses only on physical ecstasy as it journeys on;

Can the mighty Ganges be dammed by mere earth?

What matter the lineage, status, or nature of the maiden or the king?

When the body throbs with passion, who will heed the eyes?

Oh, fruit with loosened tresses,

Oh, parrot that tasted love's sweetness—

Is this state, too, a decree of fate?" 

"Does Nature ever err? Does the heart not heed the dictates of nature?" asks the poet-sage in the song "Idhayam Polladhadhu" (Film: *Andru Kanda Mugam*): 

"Upon beholding a woman's beauty right before one's eyes,

The pulse of youth inevitably surges;

Even sages who fled to the forest have been known to return home—

It is an intoxication that defies all restraint,

A path one walks with eyes closed.

Neither the law has opposed the heart,

Nor has righteousness shunned it;

Degrees and titles are of no avail,

Just as land yields nothing if left uncultivated.

The heart ripens with desire, and joy blossoms in the eyes;

Memories upon memories take root and grow—

For without this, what else would have come to be?" 

In the song from the movie *Andavan Kattalai*, lyricist Kannadasan asks—referencing the journey of a boat along the path of pleasure—why one should suppress their desires when the path lies open and even sages did not shun such unions: 

"Oh Beauty, come closer; oh Wave, come; oh Beloved, come.

I have asked you a question;

Where have you cast aside what I asked?

What are you searching for? Where are you running to?

Why do you suppress your desires?

 

A boat sails along the river of pleasure,

And the world gathers upon that boat.

Our forebears were not mere ascetics;

Had they remained in solitude, we would not have been born.

 

Even birds that know no language

Understand the path of pleasure and the bond of union;

Yet, despite having eyes and the gift of speech,

And with the path lying right here, why do you falter?" 

Kannadasan subtly alludes to the idea that "if a bed arrives, a cradle must follow" (implying that couples might need a furniture loan!) in the song "Neerodum Vaigaiyile Nindraadum Meene" (Film; *Paar Makkale Paar*): 

"Male: I recited a poem of love Upon the bed

Female: I gave a reward for that kindness

In the form of a cradle" 

Furthermore, the poet strikes the right chord again (“Azhakaana ila mangai kattil koduthaal”) (Film: *Thappu Thalangal*): 

"The beautiful young maiden gave her love on the bed

In return, the young man gave a cradle" 

And then? Just as the poet sang—"I offered flowers; I slipped on bangles while holding hands" (“Malar koduthen”) (Film: *Trishoolam*)—the home was filled with the *Valaikappu* (bangle ceremony) and the husband’s eager anticipation: 

"The beloved husband becomes a child,

And the blessed wife becomes a mother;

In the marriage bed, I am but a child,

By the cradle, my own child awaits. 

May my home prosper with the birth of a son or daughter,

May the little one crawling on my lap mirror my father's face;

A new melody has emerged in my song,

The count of our household has grown to three;

Let my little treasure clap those tiny hands,

Let my divine one blossom into a mother!" 

Is a child truly a child only if there is just one? He lays the groundwork for a second, but she puts a stop to it (“Neramithu Neramithu Nenjil oru paattezhutha”) (Film: *Rishimoolam*): 

"I had asked the Divine for just one more;

But the Goddess whispered in my ear that this one is enough. 

What if sleep is lost night after night?

Being with the child is bliss itself!" 

In the 70s and 80s, there was a big war. When the cinema was promoting endearing love on screen, resulting in population explosion, the governments were trying to contain production by spreading the 'Red Triangle' concept. The red triangle was painted in the walls of almost ALL towns and villages and as an adolescent I was wondering why the womenfolk were shying away from such advertisements. They also produced kids, year after year without any 'restrictions'. So, it is now called, 'Demographic Dividend', for the country! We are only now reaping the dividends of the investments made back then. Kavi gnani, who himself produced over dozen kids, taunts the couples of Tamil Nadu, through his song "Paatha Pasumaram Paduthuvitta Nedumaram" (Film:  *Thiruvilaiyadal*): 

"Is it right to sow seeds before the harvest is even done?

Oh God, is there such haste in Your creation?

Even after bearing ten children, is she another eight months?

Is this wretched woman destined to be perpetually pregnant?" 

In India, it is common to see philosophical quotes painted on the back of lorries. Here, however, the poet-philosopher adopts the persona of a lorry driver to sing a song that blends philosophy with a touch of wry humor, attributing the population explosion to God Himself and even submits a 'petition' to Lord Paranthaman, to stop His production business (Film: *Gruhapravesam*): 

"The world is vast, yet the roads are narrow;

A honk of the horn clears the path ahead.

Heavy are the burdens, and many are the kin;

In the eyes of the Divine, this is the world.

 

Year after year, by the tens of millions,

The throngs of people keep multiplying;

Look at the crowds filling every street—

Doesn't it look like a massive public rally?

Oh Lord, why not pause, just for a while,

The business of creation?" 

In Tamil, children are referred to as 'wealth' (*selvam*). The poet suggests that if one is blessed with an abundance of this wealth, one needs God Himself to show the way. (Film: *Kanne Pappa*): 

"Oh, darling child, my precious little one,

You and I are like golden statues—

A game played by the Lord;

If this 'wealth' comes walking down the road,

Oh God, please show the way!" 

They say that the art of love is not something learned through instruction. How, then, could one acquire it simply by reading a book? Even the innocent Palakkad native, Raja, admitted back then, "There is no place to be found on ‘this topic’ in the books he read!" (Film: Vietnam Veedu). But now that a child has arrived, let us see what books have to say about the blessing of parenthood. Enough of the couples frolicking on the bed; the editor might well show up with a sickle instead of censor scissors. So, let us turn our attention to the children. 

Indian wisdom says children are equivalent to Gods. In his book, “Love is Letting Go of Fear”, Gerald G Jampolsky says we have much to learn from our children on the way of life: "I have often thought that we have much to learn from infants. They have not yet adapted to the concept of linear time with a past, present and future. They relate only to the immediate present, to the right now! It is my hunch that they do not see the world as fragmented. They feel that they are joined to everything in the world as part of a whole. To me, they represent true innocence, Love, wisdom and forgiveness." 

Bobbi Conner also agrees with the above view. In his book, "Everyday Opportunities for Extraordinary Parenting: Simple Ways to Make a Difference in Your Child's Life", he says, "We live in a society that appears to have lost respect for the innocence and vulnerability of the growing child." The author takes this idea to the current context of society where our live styles are destroying the beauty of growing for children. He doesn't just point out to problems, but provides practical solutions like these: “We are bombarded by graphic violence on television news and the radio, in print media and in movies. It does not appear to be a friendly world for children to be growing up in." 

What should the present-day parents and grandparents do to help children at home, deal with this? Conner gives tips: "The wonderful thing about humor is that it is portable. Its opportunities are found in many circumstances of life. You have dozens of opportunities to share a joke, a pun, or silliness with your child wherever you happen to be. The telling of stories is in danger of disappearing in today's families Videos and games have taken over the "family storytelling" time slot for many families. This is a distinct loss. The environment we create, rather than the skills that we teach is really critical to the child's long-term success and happiness. That is what we need to focus on. Bringing up children is often an education for oneself. It's a great opportunity not only to teach others but to learn from them." 

What we should NOT do as far as children are concerned? Bobbi warns: “I think the most important thing is that we shouldn't try to rush our children. Giving them the opportunity to learn through play is a gift. If we don't give it to them when they are three- and four-year-olds, they'll never have that opportunity again. Children are like sponges. They absorb what they see in their environment. This is in every way what they learn; and so, in learning compassion, they also need to have someone demonstrate for them what that is. Play is serious work for children and we ought not to interrupt it."     

Everyone invariably loves children as they are filled with boundless joy—and as for the 'Kaviarasar' (King of Poets), need one even ask? He has showered them with such tender affection in his songs. For instance, who could ever forget this sweet melody—a song that evokes the affection of both a parent and a sibling? (“Malarnthum malaraatha paadhi malar pola”) (Film: *Pasamalar*): 

"Oh, vision of beauty growing like a half-bloomed flower;

Oh, embodiment of art, like a dawn that has arrived yet feels incomplete;

Oh, gentle breeze that plays in the river and combs its hair against the vines;

Born of the rising Pothigai hills,

You are the Tamil assembly that shone upon the city of Madurai." 

Is the amount of affection showered on children small or insignificant? The poet continues with the playful endearments addressed to the child. Through lyrics as sweet as rock candy, he has become like a fox that has tasted honey—captivated, as if he were beholding Lord Kannan himself: "What is that smile playing on little Kannan's lips? Are his eyes lotuses? Oh, my Kannan with the gleaming cheeks!" (“Chinna chinna kannanukku”) (Film: *Vaazhkkai Padagu*). "As little Kannan walks, placing one delicate step after another—graceful as the stem of a water lily—what could even the finest paintings do to match such beauty?" (“Alli thandu kaaleduthu”) (Film: *Kaakkum Karangal*). Is there a woman in Tamil Nadu who hasn't sung a story like this while cradling her child? "This is the time, the very time, to sleep, my daughter; if this moment slips away, sleep will elude you, my daughter!" (Kaalamithu kaalamithu kannurangu mahaley”) (Film: *Chithi*). 

The poet has also sung joyfully (“Neerodum Vaigaiyiley nindraadum meeney”) (Film: *Paar Magale Paar*): 

“Oh, fish dancing in the flowing waters of the Vaigai,

Oh, deer beckoning from the lush, verdant woods,

Oh, silvery moon pouring milk-like light from the soothing heavens,

Oh, sweet *Themmangu* melody, oh daughter of the southern land!

 

A woman—this auspicious woman—stood waiting for you, my daughter;

Your father—the father of your sweet, babbling voice—stood blessing your arrival.

 

I called out to you, 'Oh cuckoo,' my precious scion of the clan;

You have brought a companion along—where is it? Right here upon your shoulders?

Is not your face the very heart of the Goddess of Prosperity?

Are not both your faces a unified stream of radiance?

Aariro, aariro, aariro, aararo..." 

There are also sorrowful lullabies. Let us look at those heart-wrenching ones in the next episode…. 

-J Jeyes (www.jeyes.in)